Tottemo Production

Narrative Studio & Art-Driven Production House

We create stories that resist silence.

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We are a narrative studio and art-driven production house working at the intersection of fiction, documentary, performance, and artistic research. Our work emerges from lived realities and imaginative ruptures, told through film, theatre, installation, sound, and text. We train AI characters with stories, memories and moral architecture that offer companion, entertainment and guidence.

Through intimate stories and bold structural reflections, we expose the fault lines of society, question the logic of systems, and explore what it means to resist, transform, or simply endure.

Founded by director and writer Anna Maria Joakimsdottir-Hutri, Tottemo collaborates with artists, institutions, and co-producers to bring forward projects that carry both vulnerability and edge.

We offer narrative consultancy, direction, workshop facilitation, and cross-disciplinary project development. Our current focus lies in immersive formats, performative research, and hybrid storytelling.

Tottemo is expanding into the development of AI-driven characters shaped by story logic, moral architecture, and emotional resonance. We train narrative agents with complex backstories and ethically designed frameworks, intended not as passive NPCs, but as reflective presences capable of guiding, provoking, or supporting users within interactive environments. These characters may draw from memory, myth, or lived experience, offering companionship, challenge, or counsel.

We partner with technology developers and platform builders who seek narrative depth and artistic integrity in their AI systems, believing that fictional beings can be created not just to simulate, but to signify.

Productions

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Dagmar / Maria

This project was a monolog interpreted by Misa Lommi. In her mid twenties she was supposed to portray a woman of 80 years. We realized that within our bodies, whatever the age, there is another mental body that follows no rules but rather leads an emotional age that constantly changes depending on the change in mood.

The Apple thieves

The story was developed with the main pupose to entertain children between 4-8 years old. I was still convinced it could be done through a deeper subject. The boy is about to get three new siblings when his father decided to let his new fiancé move into his home.

Drakar – Short film

Drakar is not a story about remembering trauma—it’s about surviving it through transformation. Irina’s dragons are not metaphors; they are survival tactics, visual weapons, emotional mutations. As a filmmaker, I am drawn to characters who rebuild their worlds from the debris of silence. This is a story about a woman who refuses to be defined by what was done to her—but instead by what she creates.